size: 0,60 x 3 centimeters (variable height)
The primary element of Crystal Suitcase is represented by a series of fibreglass suitcases, stacked in several columns that mark the structural unit of the space. Within them, a breath of the artist ‘s audio track is played back in a loop, received by a software and translated into a projection that follows the shape of the columns, by redefining the sculptures themselves and standing them up through the use of light. The rhythm of the artist’s breathing modifies the intensity of the projected light on the sculptures that vibrate according to the fluctuations of the sound.
The project was realized thanks to the support of Angeloni Fine Arts.
Text by Marco Tagliaferro
We suddenly discover the thrill and the wonder of revisiting matter when we undo the synthesis between the well-known everyday life and the unknown self. Martin Romeo declares: “matter is lympf, structure and body, self-sufficient and autonomous in its process. Capable of giving life to new elements”. Might image pass through chemical practice, among solvents and compounds, only to discover it is able of a new glare? Martin Romeo indulges in the sincerity of his vision, he expresses undeniable distrust in pleasure for pretty and enchanting things; he manipulates matter so that it changes not only its meaning, but even its value: Romeo activates a matter processing. Nature remotely evoked and projected, reaches an intriguing combination of enchantment and cool, abstract technology. He conjugates his artistry to his state of lively artistic-cultural promoter, he organizes artistic events of great interest and this is why he is ready to welcome the most heterogenous stimuli which can lead beyond the ordinary aspect of things, independently from acts and actions, beyond the meanings attributed to them; this is how he opens his work to endless development possibilities.
Artistic experimentation of video medium have often accepted the most valid past experimentation without any criticism, receiving them as if they were an end to themselves, enclosed in formal isolation. Martin Romeo works on the qualities and illusory possibilities of projection, organized to evoke apparent presences, phantoms of crossing structures, that compress his “total space” ; this results in focusing on formal properties which eye locates and touch can’t verify; it creates imbalance between the two senses and perception.
Among his works set up on virtual images of projected structures, this realistic and at the same time poetic solid, introduced here, reaches an abstraction in which reference to reality takes up symbolic surrealistic characters in alternating and opposing elements, of natural evocation and others clearly artificial. Images are conveyed in an ideal space which only projection makes nearly possible acting as an organic and organizing context.
ph. credits Andrea Liuzza
ph. credits Roberto De Pol